Ever think about the difference between a house sound guy versus a touring engineer?
As part of our monthly On The Road With… series, I spoke with Ross Harris, the front of house engineer for Best Coast. Here are his thoughts. Pay attention to his tips on how to approach a house sound guy with your requests.
Hi Ross, thanks for talking with us. We know how busy you are and we truly appreciate your time and expertise. Who are you out with currently and what does a typical week look like for you?
I’m currently out doing Front of House for Best Coast, a great band from LA. As far as a typical week- I’m either on tour or working around the bay area at different venues. I also record bands occasionally.
How did you start mixing?
I started with an internship at a recording studio in the bay area. Through that, I started helping out with a small production company up in Santa Rosa, CA- mostly running cables and loading trucks. Then I started mixing more and more. I learned a lot about doing live sound helping out and eventually working shifts at the Last Day Saloon in Santa Rosa.
How long did you work the local scene before you started touring?
It was probably about 2 or 3 years before I did a tour. The first couple of tours I did were pretty small venues - no festivals or really big rooms or anything like that.
What was your big break? How’d it come about?
I’m still waiting for Neil Young to call me about doing his Front of House! That would count as a big break I think. That said, I’m really happy with the touring I’m doing now.
When you’re not on tour, what venues do you typically work for?
In the Bay Area, I work at the Independent, the Rickshaw Stop, Bimbo’s 365 Club, and the Great American Music Hall and Slim’s. All great clubs in my book.
What are the big differences between being the house guy versus being a touring engineer?
Both have their merits. Being the house guy is kind of a balancing act. You are trying to make sure the bands are happy, the soundchecks are running on time and that doors will open when they are supposed to. Also, you have to make sure the mics and PA and all the gear stay in good shape. Also, you are in charge of mixing any opening bands that don’t have their own engineer (often with very little time to soundcheck) and making sure everything gets back to where it needs to be for the headlining band and their touring engineer. It can be a lot of work when it is a 4 band night and the headliner is taking up a lot of stage space and time. When you are the touring engineer, your focus is just your band, and making sure they sound as good as possible. Of course, it can be frustrating as the touring engineer to walk into a venue that just isn’t sounding right- whether it’s the PA or just bad acoustics, and you only have an hour or so to make the room sound the way it needs to.
Any advice that you can give bands that are just starting out? What’s the best way to approach the house sound guy?
The main thing you can do to have a good show is to make sure your instruments sound as good as possible from the stage. If you’re a drummer, make sure your drums are in tune and not ringing out in bad way. Guitarists should make sure their tone represents what they want to be amplified through the PA. Singers- get close to that mic! Don’t expect the sound engineer to try and fix bad sounds for you. And of course, be nice to the engineer and communicative. If you have a mixing request like “we want the lead guitar really loud,” most engineers will keep that in mind throughout the set. Overall, I find that if you are respectful, people will be respectful back.
Any bad examples of approaching the sound guy that you want to share? Any tips on what not to do or how to not behave?
As far as tips, be on time and turn down when asked.
So there’s a natural progression in an engineer’s career and sooner or later, you run into thinking about using in-ears. It’s just part of growing. When did you first start to suggest in-ears and why?
Using in ears can help in a few ways. Singers can often sing more accurately pitchwise because they are able to hear themselves better. They usually don’t have to sing out as much when they use in-ears, so they preserve their voices a little more on tour. Also, monitors are loud and can be fatiguing night after night.
When do in-ears really start to make sense from an engineer’s perspective? Is it dependent on the tour size or the room size or something else entirely?
I think they are useful in any size room, it just depends on the musician’s needs and what they are comfortable with.
And lastly, what’s next for you? What does the rest of your year look like?
I’ll be mixing Best Coast for the rest of the year. Lots of fun runs in the near future that I’m looking forward to. Isle of Wight in the UK!
Ross Harris is a live/ recording sound engineer living in the Bay Area. He has toured doing FOH for Best Coast, the Devil Makes Three, Wavves, and the Papercuts. When he’s not on tour, he works at various venues around San Francisco.
UE University is committed to showcasing monthly interviews with prominent audio technicians. Read these ongoing articles and learn tips and tricks from the pros. If there is an engineer that you want to read about, let us know. Drop us a line: mike.dias@mac.com
Dear In-Ear Guy,
I want to transition over to in-ears but my band isn’t ready. Can one person be on ears while everyone else is on wedges?
Only The Lonely
Hello there —
You my friend are a pioneer. A trail blazer. A trend setter. And yes, you can use in-ears by yourself.
It is rare that everyone in a band moves over to in-ears at the same time. It usually takes someone like you to give it a try. To be the guinea pig if you will. Once everyone sees how you are performing and how you can hear and speak after a show, then they’ll switch over too. Of course, some bands make the transition as a unit but that usually only happens when their monitor engineer has already worked with in-ears before. if you are the first one on your team to do it, you often do it alone.
But have no fear. Know that many have walked the same path before you and that your actions will not only help you professionally but they will help your band.
Here are some statistics that you may find interesting. Drummers are usually the first to switch to ears. Bass players are usually last. Singers fall somewhere in the middle. Some artists never make the transition.
Drummers often switch over because in-ears offer the best way for them to hear click and sequence tracks. And since they can add a mixing board as part of their kit, they are basically independent of the sound engineer. These 2 factors really combine to make drummers the ideal candidates to forge ahead.
Here are some other factors that mix into the decision.
- If you don’t have a dedicated sound guy, most people think in-ears are an impossibility. Luckily, this is just an urban legend. Please read How To Mix In-Ear Monitors Without A Dedicated Sound Engineer.
- Most artists think that in-ears are for bigger venues. This is also not true. In-ears are for any place where there is excessive stage volume that is affecting your performance. In-ears work for clubs just as well as they work for arenas. Please read What Are The Benefits Of Using Custom In-Ears.
- And lastly, it comes down to familiarity. If you are working with a sound engineer who hasn’t done a lot of work with in-ears, they are not likely to recommend them. It all has to do with comfort and familiarity. This is actually why we created the UE University. This is a place of teaching and of sharing ideas. A place where questions can be asked and new things can be learned. So if you happen to make music with folk who want to learn more about in-ears but don’t know where to go, please share this site with them.
So with that, be brave. Use this site to expand your possibilities. And be proud to be the first one in your band to make the transition.
Until next week,
The In-Ear Guy
If you have touring questions about sound or wireless, we can help. Email me, The In-Ear Guy, at mike.dias@mac.com
Hey there — I’m a drummer and we play a lot of small clubs. I want to use in-ears but I’m not sure about it all. The nightly set-ups vary from club to club and I often find the mics lacking and my sound not as big as I’d like it to be. Here’s what I want to be able to do. I want to hear a click/ playback track, I want to hear myself, I’d like to run an ambient mic for the room and I want to mic my kick drum. Not only that, but I’d REALLY love to run everything over to the front of house. Is this even possible?
Many thanks -
Big Sound
Hey there Big Sound
Let me reiterate everything that you are saying since it sounds like there are a few things going on. First and foremost, you don’t believe that the audience is getting the best sound at your shows since your kit isn’t properly mic’ed. This happens a lot in smaller clubs. But you can fix it and take control of your sound.
Besides for that, you want to use a click/ sequence track and monitor your playing.
The solution that you are looking for is to use in-ear monitors with a simple mixing board. You can incorporate the board into part of your kit. Just put it on a snare stand and plug your in-ears directly into the board. This set up even saves you the cost of getting a wireless transmitter that feeds from the main board (whether you are plugging into the monitor console or the front of house.)
So with that, basically you are talking about 4 signals to manage.
(1) Kick Drum (mono)
(2) Click (mono)
(3) Sequencer/Backing tracks (stereo)
(4) Ambient
Maybe the click and sequencer could be on the same track. But that’s up to you.
For the mixer, I recommend the Yamaha mg102C. You should be able to find this online for less than $100. It has a couple stereo input channels as well as options for the kick drum input and for any other “send-thru” channels that you want to direct to the front of house mixer. There is an auxiliary output mix that you can generate. There’s also on-board compressors that are nice so you can get some wallop from the kick and some push for your vocals if needed.
There are a few ways that you could set everything up but one of the things that you could do would be to take the direct outs off the main board and create your own mix. You can add an ambient mic in a set up like this just for you but I’ve found that in most clubs, it’s not worth the hassle to put an extra mic up for the room because you can leave one of the (or all) of the primary vocal mics ungated and they will pick up everything in-between songs. Finding ways to minimize gear hauling is always key.
So a diagram of your set up could look something like this:
You would plug your personal monitors into the phones jack and at this point in time, you would be able to control the mix that you want to hear, you could add click and sequence AND you can control what gets sent over to the front of house. This is a huge win for you and your audience.
It is worth noting that you can plug our IEM’s directly into the phone jack but you will get an even better sound if you use a dedicated headphone amp as well. This has to do with the impedence of the board and the internals of the armatures. You’ll be fine without the amp but you’ll have a richer sonic experience if you make an amp part of your set up as well. Carvin or Behringer or Art amps are economical and will get the job done. If cost is an issue, just start with the board and the in-ears. And remember, setting it up like this will be more economical than going with a wireless transmitter/ receiver pack.
Hope this helps and feel free to ping me with specific questions. We’re always happy to provide detailed set up diagrams like the one above.
Until next time,
The In-Ear Guy
If you have touring questions about sound or wireless, we can help. Email me, The In-Ear Guy, at mike.dias@mac.com
Hey there In-Ear Guy —
I don’t get it. Why do I have to visit an audiologist?
E.R. Wax
Say there —
That’s a very good question and I’m glad you brought it up. In-ear monitors are custom fit to your ears and your ears only. They are not off-the-shelf products so before we can build them for you, we need to know your precise measurements. We need to know the interior dimensions of your ear and your ear canal. The only way for us to get this information is for you to visit a trained specialist, an audiologist. Audiologists are ear doctors that specialize in monitoring your hearing health but they are also trained to take ear impressions. An ear impression is essentially a cast of your ear and since audiologists prescribe and fit their customers for hearing aids, they have the tools and know-how for being able to take accurate impressions.
Anyways, the process goes something like this. You set up an appointment with your local audiologist and upon visiting them, they first look into your ears to make sure that you have no obstacles. This is a nice way of saying that they make sure that you don’t have excessive earwax build up. If you do, don’t worry. Wax happens. And the doctor can help you with that too.
If all looks good, the audiologist will gently place a cotton damn just past the second bend of your ear canal. This safety precaution protects your eardrum and it serves as a backstop for the ear impression material. Once the damns are in place for both ears, the audiologist will ask you to open your mouth and they should provide you with a bite-block for comfort. This simple tool just helps you keep your mouth open in a comfortable position. If they don’t give you one, just bite on your thumb. That will help keep your jaw in the ideal position.
Why do we insist on keeping your mouth open during the impression process? Well, it’s not just to make you look silly. Actually, opening your mouth changes the aperture of your ear canals. Try this. Go ahead and stick your finger in your ear and open and close your mouth. You feel how your ear changes? Keeping your mouth open during the process gives you a more natural fitting and more comfortable in-ear monitor.
Once your mouth is open and you’ve got strings hanging out of your ears, the audiologist mixes up a 2-part epoxy into a specially designed syringe. The mixture is semi-viscous and it looks and feels like Silly Puddy. When you are ready, they inject it into your ear. It goes right up to the cotton damn and then it starts to spill out of your ear canal. It’s all a bit strange feeling but it doesn’t hurt or even feel funny; it’s just different. The doctor then pats everything down and covers the outside of your ear as well.
It takes about 6 minutes for everything to harden. They’ll then twist the molds out and give them to you so you can mail them to us.
Your impressions are perfect casts of all parts of your ear and we use this mold to ensure that your monitor is as comfortable as possible. Part of the goal of in-ear monitors is to block -26 db of ambient noise and in order to do this, they must fit snugly. If they are loose, sound bleeds through the gaps. This is what we call a compromised seal. A loose seal also compromises sound quality. In order to have a full and deep low-end, you must have a great seal. So the impression process not only is about fit and comfort, but it is directly correlated to how good your monitors will sound.
The better your monitors fit, the better they feel and the better they sound. This is why we ask you to visit an audiologist. And this is why we are adamant when we say that this is the most important part of the entire process. It all comes down to the impressions.
We wish that there was an easier way for us to get you your monitors but we’ve learned over time, that you just can’t cut corners. A little extra time devoted to finding the right audiologist upfront saves you so much time and hassles in the future. A great impression leads to a great monitor. Hands down!
This is why it is imperative that you feel 100% comfortable with your audiologist. All audiologists are capable of taking great impressions but here’s the rub. Impressions for in-ear monitors are different than impressions for hearing aids. Hearing aids are much smaller than in-ear monitors and as such, their impression process doesn’t require capturing as much information. So it is up to you to explain to the audiologist that you need impressions for FULL SHELLED piece with a CIC CANAL.
Let them know ahead of time that your impressions need to detail the full helix, crus of the helix, tragus and antitragus and that they must go just past the second bend of the ear canal.
Don’t worry. You don’t need to know what any of this means. They will. Just let them know ahead of time when you are booking your appointment. If they sound iffy about any of it or if they give you any resistance, call someone else. The most important thing is that you feel comfortable with them.
For an extra measure of mental security, email them this post and print out the attached form to remind them of everything that you talked about when you set up the appointment.
DOWNLOAD AUDIOLOGIST INSTRUCTIONS FOR YOUR APPOINTMENT:
Watch a video starring Chris Cornell that details the entire process:
And if you are still unsure of what to do, give Ultimate Ears a call and we can make some recommendations.
It’s all about first impressions,
The In-Ear Guy
If you have touring questions about sound or wireless, we can help. Email me, The In-Ear Guy, at mike.dias@mac.com
Ever wonder what makes a band want to go on in-ears? Is the decision the band’s, the manager’s, the engineer’s or is it a production decision?
As part of our monthly On The Road With… series, I recently had the chance to catch up with Zach Snyder, the Monitor Engineer and Production Manager for Hot Chelle Rae. Here’s Zach’s thoughts about pulling double duty shifts and about how and why a band chooses to go on in-ears.
Hi Zach - thank you for taking the time to talk with us. We all know how busy you are and we really appreciate your expertise. Say, speaking of busy. I understand that you’re wearing 2 hats, no? Are you doing production management and monitors for Hot Chelle Rae?
Yes I am full time production manager and monitors for Hot Chelle Rae. I occasionally even handle the drums…
Let’s get into this a bit more because this is a pretty common situation and we haven’t talked about it yet. Can you please tell us, in your own words, what a production manager is responsible for?
This is a very common question for people who aren’t too involved in the music industry. I am the one who advances production (IE: anything stage, sound, or lighting related.) I handle the crew and load-ins and pretty much anything day of show that has to do with the stage, venue, security, and the actual show.
And how many hours a day do you devote to this aspect of your job?
I’d say I’m usually busy from 11am to 12pm. So 13 hours a day.
OK - and how many hours behind the desk?
Monitor desk is about 1.5 hours. 5 hours behind the desk in my office. The rest is me running all over the place.
Yep - so that makes for a very long tour with really no days off. So why double up? Why not just hire 2 positions?
Eventually we will reach the level where we hire two positions when its just not humanly possible for me to handle both. But right now it works and the band likes it this way. I also enjoy being busy throughout the day.
Say - since your both the production manager and the monitor engineer, you are in the perfect position to help us answer this question. And I have to be honest, I’m not sure that we as a company have even figured this out yet. So here we go… who is the decision maker when it comes to buying in-ears? I’ve heard it all before. I’ve heard that it’s the engineer’s decision. I’ve heard it’s the PM’s decision. But I think there’s much more to it.
I would say the decision is ultimately made by the band. The engineer and PM can sway the band and convince them what to get and which company to choose. I can say it almost always depends on what the band wants at the end of the day.
Well, how does the process even start? Who initiates it? Who is the first one to say “I think we should try in-ear monitors?”
It started for us when we realized our fly date schedule had gone from not a lot of shows to at least 50 a year now. Our tour manager brought the idea to the band that we should get used to using the same monitors at every show. The only way to use the same monitors every day 100% consistently is by using molds.
And from there, let’s assume that there is interest from the band. Then what? Who needs to be convinced?
If there is interest from the band, usually the last on board is the bass player. Bass players always want to feel the bass.
Well, let’s talk specifics. From a monitor engineer’s perspective, I know the pros and cons about switching over to ears. Are there any benefits for a production manager if your band is on ears? Does it speed up set up times? Less gear to haul?
You said it exactly. No wedges saves a lot of time. It also makes the stage look much much cleaner. I always like to look at things from the PM aspect though and not as much the engineer aspect.
I guess the biggest question that I’m getting at is are there any cost savings to the tour if the artists are on ears?
At the end of the day an expense is an expense. Wedges aren’t too expensive to rent but neither are IEM transmitters.
Are we helping in ways that we don’t understand or are we creating more problems that certain people end up having to deal with? To me, it makes sense that the less gear that needs to be hauled around, the better for everyone. Is there any truth to this?
I don’t think any problems are created or destroyed. At the end of the day, everyone has a job to do and to make their gear work.
OK. OK. Enough on that topic. Thank you for helping educate all of us. So what’s next? How much longer are you out with Hot Chelle Rae? What comes afterwards?
I am currently with HCR indefinitely, we have a very busy year ahead of us with shows around the globe.
And with that my friend - many any thanks! We’ll see you on the road.
Zach Snyder has been on the road for 4 years. He’s been doing FOH/monitors/TMing/ and PMing. He met the Hot Chelle Rae guys last summer and has done 150+ shows since.
UE University is committed to showcasing monthly interviews with prominent audio technicians. Read these ongoing articles and learn tips and tricks from the pros. If there is an engineer that you want to read about, let us know. Drop us a line: mike.dias@mac.com
Dear In-Ear Guy —
What’s the history of In-Ear Monitors?
Thanks,
Just Curious
Hey there Mr. Curious — great question. But to really answer that, we have to go back in time to discuss the history of traditional wedge monitors. But at the heart of it all is a very interesting story about technology and music.
So think about this. Humans evolved with music and music evolved with people. It has always been there and it is a fundamental aspect of how we define culture. Yet for almost the entire scope of the evolution of music, music was performed on acoustic instruments for a relatively small gathering of people. The volume levels topped out at the range of the instruments. When the music needed to be louder, more musicians were brought in to play the same notes. This is why there are sectionals in orchestras. More people equals more volume and the sum of each sectional is louder and more dynamic than just a single instrument.
All of this changed with the invention of the microphone. The microphone allowed sound waves to be turned into electrical waves which were then converted back into sound waves via a speaker. This allowed acoustic instruments to be amplified. And this changed the face of music forever. Imagine what a fundamental shift this was. Talk about a technological breakthrough… the confines of space and volume were eradicated. Microphones completely changed how music listeners related to music and musicians.
But not only did amplified music change the performer-audience relationship, it also changed the way musicians interacted with their own instruments and with each other. Amps began to be a constant presence onstage. Venues grew in size now that mass audiences wanted to see certain bands and now that there were no limitations to room size due to acoustic constraints. Initially, bands would place simple speakers on stage to fill the room with their music but that quickly evolved into massive cabinet speakers and then onto giant PA systems for the audience.
And as PA’s were growing in size and power, crowd noise grew as well. Industry legend goes something like this: it wasn’t until The Beatles played Shay Stadium in ‘64 that the stage monitor was invented. Basically, The Beatles walked out on stage and they were instantly overwhelmed by screaming teenage fans. They couldn’t hear a thing. They couldn’t hear their own instruments above any of the crowd noise and they certainly couldn’t hear each other. It’s funny to think about it today with concerts being so damn loud - but this was the first time in history when the crowd was louder than the concert itself. As a quick-fix solution, their sound engineer ran out and flipped some of their amps on their side and pointed them directly at each musician. And with that, the wedge industry was born.
But while stage monitors helped solve the problem of musicians not being able to hear themselves due to excessive noise, they also exacerbated the root of the problem. More stage monitors led to more amps and more general stage noise. This led to louder stage monitors and more powerful PA systems. And more noise. And more problems and ever louder systems.
It was only natural that sooner or later a quieter alternative had to come into existence. In-Ear monitors were a natural evolution of not being able to hear. Basically, they are very advanced earplugs. They block -26 decibels of noise while also providing a sound source that does not contribute to the overall stage noise for the other musicians. They deliver an exceptional private mix at safe hearing levels.
It is really important to realize that live sound reinforcement is still a very young industry. All of these major developments happened within the last 50 years and in-ear monitors are just the newest solution to the interplay of all the dynamics and factors involved in putting on a show for thousands of people. In-Ear monitors are still so new that I was recently going through old files and I found an article that I ghostwrote for LiveSound back in 2001. They were called Ear Worn Monitors back then. Lots has changed and maybe in-ear monitors has gelled as a name now but who knows where the future will lead all of us. But for now, wireless and in-ears are the best solution to excessive stage noise.
Hope that helps clear it all up -
Until next time,
The In-Ear Guy
If you have touring questions about sound or wireless, we can help. Email me, The In-Ear Guy, at mike.dias@mac.com
Hi In-Ear Guy,
I haven’t tried in-ears yet but I’ve been using custom musician earplugs. I find that I take them out constantly during performances because I fear I won’t be singing on key or that I’ll miss the harmonies. Any suggestions?
Plugged Up
Hey there —
You are most likely taking your custom plugs out because your stage volume is louder than your monitor volume. I find that earplugs help me hear better since they effectively turn down all the noise and let my monitor mix cut through. But that only works when the monitor mix is louder than the surrounding instrumentation. Another way to say this is that the real problem isn’t your plugs or your mix or your vocals; the stage is just too d*mn loud. You have to deal with that first. To get a few tips on how to grapple with lowering your stage volume, please refer to the previous post about stage noise.
You have a few options and it is possible to bring your stage levels down. But if you and your bandmates can’t agree on how to actually do that, then you’ll need to consider in-ear monitors as your only solution. They’ll bring everything down by -26db and that is an easy level to mix on top of. Say the stage volume stays extremely loud — let’s say it hovers at 115db. With custom monitors in place, it would be only 89db to your ears. So you’ll only need to get your vocal mix up to 92db to be twice as loud as the music. And it would be just as easy to get louder than that.
But since you brought up custom musician earplugs, I’m going to take this opportunity to talk more about them. They are pretty fascinating and they provide great solutions to a lot of common problems — especially for all of us in the music business!
Let’s start off by asking a really simple question. Why don’t more people in our industry use earplugs? We all work around dangerously loud music. It seems pretty silly that we don’t protect ourselves. But I’m just as guilty as anyone else. Well, that is I was, until I learned more about musician earplugs.
I used to hate using earplugs. They drove me crazy. Things sounded funny. And my voice would echo in my own head something awful. It was just a better experience for me to go au naturel.
I later learned that there was a scientific reason that I didn’t like how regular plugs sounded. I wasn’t crazy. I wasn’t making things up. They really do sound bad. And since we all work in and around music, it’s safe to say that we, as a group, care about how things sound. For the most part, we tend to avoid things that sound lousy. So it’s no wonder that many of us aren’t crazy about foamies.
Non vented solid earplugs disproportionally attenuate -10db to -20db of high frequencies with the drop beginning around the 2k mark. This means that regular plugs only block the mids and highs and that they specifically muffle the vocal range. Of course things sound muddy with standard plugs. All you’re catching is unadulterated low-end and mixed with attenuated mids and highs. Who would ever purposely set their EQ like that? Not only that, but when an ear plug sits on the outer surfaces of the canal, you get that “hollow barrel echo” sound. It’s known as the occlusion effect. The only way to make that stop is to have your plug deeply seal the bony portion of the ear canal and to do this, the ear plug has to seat into your ear past the second bend.
Here’s the magic of musician earplugs. They stop the occlusion effect and they provide flat response attenuation. They take all the frequencies down the same level; think of it like just turning life’s master volume down. They work because they are based on a custom mold of your ear and all sound is passed through an interchangeable filter that either cuts -9db, -15db or -25db depending on your needs. So if and when you find yourself in a 115db situation and if you own -15db custom plugs, pop them in and you’re instantly in a room that’s only 100db. It’s that simple. They are comfortable. They are effective. And they are the solution that we’ve all been looking for. Unless of course, your stage is louder than your monitors.
Until next time,
The In-Ear Guy
For more information about custom musician earplugs, please visit Ultimate Ears online.
When you have touring questions about sound or wireless, we can help. Email me, The In-Ear Guy, at mike.dias@mac.com
Have you ever thought about all the people that it takes to run a successful tour? Let’s just think about it from an audio perspective for a second. Live sound reinforcement is much more than just the audio engineer. To give us a better understanding of some of the other audio technician roles, we caught up with Ryan Huddleston, International Roadie for Michael Bolton and others. And did I mention that he’s mixed sound for Donald Trump?
Besides for sharing some of his tips & tricks with us directly, Ryan will be telling us about a new teaching video series that he just released.
Hey there Ryan - thank you for talking with us today. I know how busy you are. Speaking of which, who are you out with now and what are you doing for them?
Hey Mike, thanks for having me. Yes, life does get busy, especially working for Michael Bolton. It’s been about 3 years with him now and I’ve probably been to some 50 countries or so since. It’s a crazy schedule! I’m responsible for maintaining, programming, and operating all the computers, synthesizers, keyboards, and related video & MIDI equipment. As well as overseeing the horn section, the piano, some stage props, and just helping anywhere I can.
Actually, this brings up an interesting point that I’ve been meaning to call attention to. To date, we’ve only profiled monitor engineers and front of house engineers but in reality, there is a whole team of technicians that are responsible for how a band sounds. I know that you have plenty of time behind the desk, but you’ve also had your hands on so much more. Since you have such a diverse technical background, can you please help educate us on what exactly each role is responsible for. Let’s start with computer technician. What is that exactly? What’s a typical night look like?
I guess a computer technician would be somebody who makes sure the computer turns on and does what it’s supposed to. Which can be exciting sometimes, after all the international gear shipments. As well as operating and programming related software for audio, backline, video, photoshop, pro tools, fixing Internet problems, plus maintaining all the operating systems, plug ins, drives, hardware, etc.
How about a Pro Tools engineer and operator?
I wish it was as simple as putting a microphone in front of an instrument and hitting the record button, but it often requires much more attention. After the performance is recorded it needs to be mixed, edited and formatted to deliver to the various outlets. Such as radio, T.V., Youtube, DVD, or live playback. The most common though is playback, which is kinda like the nervous system of the production. This would include click tracks for the band and conductor, printed sound effects, cues, MIDI data & program changes, and more.
What about a Backline Programming Specialist?
Backline is the music equipment behind the band, but there’s more than just guitars & drums these days. I spend a lot of time poking around the menus & utilities on a lot of digital equipment, often on days off or at the last second before a show. Finding my way around keyboards, drum machines, synthesizers, various software and third party software programs, pedal boards, MIDI configurations, synchronizing integrated systems & backups, and anything else that needs programming or reconfiguring.
Oh man — that’s a lot more work than we normally think about. So you’ve mixed sound for bands but you’ve also been an audio engineer for lecture seminars. You’ve worked for Donald Trump, Tony Robbins, Robert Kiyosaki, Suzi Orman, and George Foreman just to drop a few names. I’m so curious about this. How is mixing this type of audio format different than mixing for a big rock show?
Sound for public speaking is a totally different approach from Rock & Roll. Different techniques are needed when you only have one source to reinforce. When there’s a whole band its easy to pick out your favorite or least favorite tones and mix around them or with them. But with speaking you have to get a little more hands on with your mix; stacking parametric EQs and even graphic EQs sometimes on one microphone just to get it to sound good & avoid problems. Plus, those shows can last 14-18 hours sometimes, which can be exhausting. Especially when each presenter has a different timbre to their voice and speaks for only a few moments, so by the time the mix is perfect you get to start all over again.
And I have to ask - which type of gig is easier?
I definitely prefer music, and find it easier to get through the gig without falling asleep on the spacebar. Technically speaking, none of them are that difficult, it’s often the psychology that can get tricky. Flipping mind sets from talking to a billionaire CEO or a famous Rock Star right into loading a truck with a 300-pound New Yorker can be challenging, especially if you haven’t had decent sleep from all the traveling.
By the way, how did you land such an amazing gig anyways?
Somebody once told me preparation and opportunity equals success. So I’ve spent most of my life preparing for opportunities, a lot of hard work and a lot of luck has led me on an amazing journey. I was kinda born into music and have always surrounded myself with instruments. The week I turned 21, I graduated college with 5 degrees, landed my first international tour with Joss Stone, and got a taste of the sweet and bitter life of Rock & Roll touring, that I just can’t let go of. Plus it helps that people like me enough to rehire me and recommend me to their peers.
OK. so switching topics slightly. Now you and I have known each other for years so I know that you’re going to be to humble and not bring up your new project, but I want to talk about it because you’ve done something truly amazing. You’ve amassed over 10 years of field knowledge into an educational video series. Basically, you teach anyone how to become an International Roadie. Can you please tell us about your new Tricknology video series?
The Tricknology video series is 8 DVDs of 1-on-1 instruction, showcasing many industry standards and procedures practiced by most touring professionals. It includes step-by-step instructions for guitar & bass setups, tube amp & guitar repairs, cable building & soldering, speaker maintenance & troubleshooting, and so much more. I’m so excited to finally share it with the public. After training thousands of industry pros around the world, I formulated a complete course for teaching anyone of any skill set how to steal my job as an International Roadie. The videos also teach anyone how to get their gear sounding and playing better with some great “trix” I’ve picked up on tour, in the shop, and in the studio.
How long did this take to put together? This is fairly monumental especially considering the fact that you’ve always been working on top billing international tours. When did you even find time to do this?
It’s not hard to make time to do what I love. I often work on my many projects on planes, in hotel rooms, backstage on down time, and while at home. As you know, the touring industry doesn’t work everyday of the year, so I spend every free minute working on my own music projects & chasing my own dreams. Plus, I couldn’t have done it without the help of my amazing team, and all the support from my friends, family, and fans.
So last question, but I have to ask. Why? Why did you share all your secrets? Most people really keep their tips and tricks to themselves.
Well I have a lot of tips & trix, and it seems logical to share it with the music community so that we can grow stronger together. I even created a blog to supplement the video series, which is loaded with tips, trix, stories, music, videos, and more. It’s free too! The International Roadie. You never know what, or who, I might find next…
Thank you Ryan - see you on the road!
Watch clips from the Tricknology Video Series here:
Watch on overview of the Teknix Concepts:
Ryan Huddleston is a professional audio engineer, technician, and backline specialist, as well as an accomplished recording and performing musician. He has been a key figure for multiple world tours, recording sessions, and production designs for numerous multi-platinum artists and professional productions; including Linkin Park, Kelly Clarkson, Michael Bolton, Joss Stone, Microsoft, Donald Trump, and many more. Ryan is an authorized warranty repair technician for stringed instruments, amplifiers, and other electronic devices. He has also received several vocational degrees and certifications in the fields of music technology, live sound reinforcement, recording arts, digital audio production, amplifiers & electronics, stringed instruments, and wireless coordination.
UE University is committed to showcasing monthly interviews with prominent audio technicians. Read these ongoing articles and learn tips and tricks from the pros. If there is an engineer that you want to read about, let us know. Drop us a line: mike.dias@mac.com
Dear In-Ear Guy,
Is it true that your ears keep growing the older you get? And doesn’t that affect how your in-ears fit? I don’t want to have to keep buying new sets just because I’m getting older.
Thanks,
Older and Bigger
Say there - that’s a great question and I’m glad you brought it up. Contrary to popular belief, your ears don’t keep growing as you get older. Yes, your body changes and some things get droopier than others but overall, your ear structure is what it is. In my case however, it just looks like my ears are getting bigger but I guess they’re just getting lonelier. The less hair that I have, the more pronounced my ears seem to be.
That said, your ears do change with excessive weight fluctuations. For every 10 pounds that you either gain or lose, you run the risk of having your in-ears feel tighter or looser than normal. With a 20 pound fluctuation, you’re probably going to need to make an in-ear fit adjustment. With a 10 pound change, it’s possible that you may compromise your seal and lose your low-end response but with a 20 pound change, you’re highly likely to experience this problem.
Luckily — there is an easy solution to all of this. We’re only talking about fractions of millimeters and these adjustments can be fixed at our lab. If weight gain causes the monitors to feel too tight, we can buff down the canals and make them more comfortable. If weight loss makes them feel too loose, we can add a few coats of acrylic to the canals in order to thicken them. This is very similar to applying finger nail polish at the salon. All of the fixes are seamless and the monitors will look and feel brand new. If the weight fluctuations aren’t permanent, we can reverse the process once you are back down to your typical weight. Regardless, you’ll never need to buy new monitors because of fit issues. The only time that you should think about buying new monitors is when you realize that you need backup sets. Then it’s worth considering upgrading to a newer model and using your old sets if and when emergencies happen. But that’s a whole different topic for another week….
Until then,
The In-Ear Guy
If you have touring questions about sound or wireless, we can help. Email me, The In-Ear Guy, at mike.dias@mac.com
Hey In-Ear Guy,
I don’t want to feel sealed up or isolated. I figure I’ll just use 1 in-ear. What do you think?
One In, One Out
Hi One In, One Out -
This is a bad idea. A very bad idea. I understand that you don’t want to be cut off from the audience and I understand that in-ears sometimes have a reputation for making an artist feel isolated. But let’s just say that your fears are based more around a myth rather than a reality. It is true that in-ears will block -26db of ambient noise, but that’s far from going into an isolation chamber. And there are still plenty of ways to get ambient sound into your mix.
In all honesty, your stage set up will generally have enough bleed from the mics on stage to pick up the audience and stage noise. You’ll still hear your fans singing back to you and you’ll still be able to play off of their energy. But if that’s not enough, many engineers use at least 2 or 3 audience mics that are blended into the in-ear mix. Since musicians tend to move around, good engineers will pan those in stereo as left, center and right so you can tell where the audience is in relation to your stage position. Another trick is to turn those audience mics up between songs to give you more interaction with the audience. As an aside, it is important to turn them back down during the song in order to clean up the mix. Too much ambient noise can muddy up the mix make it get a bit lost.
If that’s still not enough, you can order any of your in-ears to come with the built-in ambient feature. This is basically a controlled hole in the shell of the in-ear that allows the user to adjust how much ambient bleed they want to hear. If the hole is fully plugged, the in-ears operate normally. If you want it open, you can remove the plug and the stage noise and crowd noise will reach your eardrum through a -12db filter along with the critical in-ear mix. But be warned. The low-end frequencies are dependent on having a complete seal. Once you open up your in-ears, you lose the low-end response. You’ll have to get those frequencies from wedges and side-fills while supplementing with an in-ear mix. You’ll have to play around and find your optimal ambient set-up. Keep in mind that we can not add the ambient feature to your custom ears after they have been made. But we can always remove the ambient feature if you prefer not to use it.
Here’s the deal. The ambient feature works best for traditionally older bands who are more accustomed to playing with wedges. It is a happy marriage between older and newer technologies. The ambient feature is also good for bands who are just starting off on in-ears and who are worried about what it will sound and feel like. Think of it like this — ambient ports are more of a safety net than anything else. All in-ears are a sizable upfront investment and since the fear of being isolated is real, the option of having ambient stage noise helps to make the transition to in-ears possible. But once an artist gets comfortable with relying on an in-ear mix, more often than not, they opt to keep their in-ears fully sealed. For $50, the ambient feature is a great insurance policy. Does that make sense?
Now, back to your original question. When you have 1 ear fully sealed and one ear wide open, you are getting the worst of both worlds. And you are dealing with 2 totally different sound sources and sound pressure levels. Inevitably, your in-ear mix gets too loud. If the stage volume is 115db and one ear is in and one is out, you will turn up the in-ear to be as loud as or just a little louder than than your surrounding sound. Don’t do this. In time, this can and will damage your hearing. With the 26db of isolation it is different. If the stage volume is 115db then your in-ears level can be as low as 89db to keep up. Most people will go a few db louder than their surrounding volume to get above it. So I would plan on the in-ear mix as being about 91db. Keep in mind that 3db is double the power level. So the difference between118db and 91db is significant. Either commit to being fully sealed with 2 in-ears or use the ambient features with both ears. Keep yourself in balance and keep your focus on your long-term health. We’ve all seen famous artists wearing only 1 in-ear on TV performances but that doesn’t make it right.
Until next time,
The In-Ear guy
Here are a few technical facts about sound and sound pressure levels. Understanding these principals helps to further clarify what is noted above:
Definitions:
- Sound level or noise level − a physical quantity measured with measuring instruments.
- Loudness − a psycho-physical sensation perceived by the human auditory perception or the human ear/brain mechanism.
We are told by psycho-acousticians that a level 10 dB greater usually means “double the loudness” or “twice as loud”.
- Decibel − one-tenth of a bel, which is the logarithm of the ratio of any two energy-like quantities or field-like quantities.
Ratio doubling means:
- A sound pressure level +6 dB SPL,
- A power level of +3 dB,
- An electric voltage level of +6 dB,
- A loudness level +10 dB,
- 10 dB more SPL means 10 times increase in amplification or amplifier gain
More on this in future posts.
If you have touring questions about sound or wireless, we can help. Email me, The In-Ear Guy, at mike.dias@mac.com
